It is somewhat difficult to treat distinctly of the mantlings
prevailing since the beginning of the sixteenth century; but as
they afford indirect evidence of date, I venture to draw up the
following short description of their variations; and I do so with some
diffidence, in the hope that fellow-students may add to my feeble
effort, and that thus we may presently arrive at a perfect and dated
scheme of these changes.
I am obliged to treat seals separately from drawings and stone
carvings, because the circumscribed space in a seal seems to have
prevented some of the variations noticed in the others. At the same
time, several characteristic changes are found to occur, and at
tolerably distinct dates; and so it is possible to lay down very
clearly, as to seals, the current of progressive change.
* * * * *
By far the greater number of heraldic SEALS at the beginning of the
sixteenth century have no mantling, but display only a bare shield,
without ornament--unless some scroll-work or architectural lines, to
fill up the space within the dotted or plain circles. Such seals occur
constantly till the end of the seventeenth century.
About 1550 helmets with mantlings, open and rather sparse, and kept
high up on the top of the shield, appear. These mantlings are rather
flat, so that a good space is left for the crest, which thus stands out
distinctly. As a specimen, see Wm. Lambarde's seal, 1552 (_Archæologia
Cantiana_, vol. v, p. 256).
Although a good many seals continue still with the mantlings kept
up about the top of the shield (while sometimes a motto, &c., is
introduced below), it is observed that a little after this date
mantlings gradually creep downwards, perhaps to two-thirds of the
depth of the shield. See a seal of the Throckmorton family, 1576
(_Visitation of Warwick, 1619_, Harl. Soc.); also those of Lord
Chancellor Bromley, 1581 (_Herald and Genealogist_, vol. v, p. 5); John
Ogle, 1597 (Mascy Charters, plate C, Historic Society of Lancashire and
Cheshire for 1887); and Edward Osborne, 1618 (_Herald and Genealogist_,
vol. iv, p. 241; also _Archæologia Cantiana_, vol. v, p. 234).
This is the character of many examples occurring down to about the
year 1650, when a greater profusion of mantling began to be shown: of
this the seal of Sir Edward Nicholas, engraved on p. 45, is a good
example; and it is the first instance I have noticed in which the folds
of the mantling come out _from behind_ the shield, thus marring its
distinctness. Usually, although the volume of foldings increases, they
are kept away from it, so as to leave the impression of the shield
standing out and quite clear. In this, too, the folds extend higher up
on either side of the crest than is usual in earlier examples.
It may be interesting here to note that of the fifty-nine seals
attached to the death warrant of Charles I., in 1648-9--following the
very accurate engraving in _Monumenta Vetusta_, vol. ii,--twenty-one
show mantlings, eleven are distinctly without, ten are doubtful, and
the remaining seventeen seals are quite illegible.
From about 1650 many beautifully cut signets are found--the arms, with
helmets, crests, and mantlings, the points of which rise up on either
side of the crest, thus filling up that empty space. The seal of the
Cordwainers of Oxford, made in 1680, is a favourable example of the
date (_Arch. Journal_, vol. vi, pp. 159 and 279).
About 1680 I have observed tassels sometimes appear as a finish to the
lower ends of mantlings, as in the seal of Thomas Bate, engraved on p.
45; also in a signet of 1683, in _Miscellanea Genealogica et Heraldica_
for 1886, p. 143; and elsewhere.
Shields set in frames of scroll-work, without mantlings, were prevalent
from the beginning of the seventeenth century. For an example, see a
signet of Fetherston, 1638, engraved in the _Visitation of Warwick_
(Harleian Society).
From about 1670 cornucopiæ, with flowers, &c., appear, supporting
shields more or less egg-shaped; and some of them are most exquisitely
engraved. But even at so late a date, I have not observed tincture
lines introduced.
I have noticed very few seals about this time in the Jacobean taste.
Probably no room was left in so confined a space for scroll-work around
the base of the shield. But mantlings--rather heavy, although not
voluminous, and kept up pretty high--are found towards the end of this
seventeenth century. In many cases also, at this time, plain Georgian
shields occur, without mantling.
Early in the eighteenth century seals are found in late Jacobean
frames, open and with trellis-work, adorned with rushes and flowers,
and without mantlings.
The influence of Chippendale taste strongly affected seals from about
1750 to 1775.
Many followed in the style of Adam, with ribbons and festoons of
flowers, and sometimes lightly scrolled frames. These, of course, are
without mantlings.
We are thus brought to the end of the eighteenth century. Only
occasionally have I met with mantlings between about 1740 and 1800;
but I must explain that it is very difficult to get together a body
of examples of the eighteenth century: such are not old enough to be
figured in engravings, and documents likely to bear them are not of
sufficient interest to be examined for any other purpose. I trust
fellow-students who read this book will sketch, with their dates, all
instances of this epoch: it is only in that way we can get together a
body of evidence.
It seems to have been very common, also, for successive generations
to repeat the style of their seals, as if that were as important as
the heraldry displayed; and thus instances of the several variations
occur, perhaps, much later than their legitimate dates--as classified
above, from many examples. I know one family whose seals from 1718 to
1840 show, with only one or two exceptions, "the tasteless though still
prevalent form" No. 80, and without any mantlings.
* * * * *
Although taking DRAWINGS and STONE CARVINGS together, there are
certain differences observable in each; for instance, we constantly
find, in monumental sculptures of the sixteenth century, designs with
mantlings above and scroll-work below, which very closely correspond
with Jacobean book-plates and engravings such as did not appear till
about 1720. I would refer to Thoroton's _History of Notts_, p. 227;
where is engraved a monument, at Wollaton, to Henry Willoughby, who
died 1581, which is quite Jacobean in taste and treatment. Another
equally so is at Newark-upon-Trent Church: this was erected in 1661, to
Thomas Atkinson (Thoroton's _Notts_, p. 200). Another with cornucopiæ
and scrolls stands in West Lake Church, to the memory of Richard
Mansfield, who died 1624 (Thoroton's _Notts_, p. 27). This last exactly
corresponds with some of Hollar's beautiful designs, in Sandford's
_Genealogical History_, published in 1677; and it is very remarkable
that these are a distinct _advance upon_ Hollar's own designs in the
preface and dedication to the Bysse edition of Nicholas Upton, which
he engraved in 1654; while for nearly fifty years this monumental
example had stood in West Lake Church, and we know it was only one of
many similar English works. I have many times noticed that sculpture
precedes engravings or paintings. It is, I think, inherently so:
designing in the round comes first, to be afterwards translated, by
skilful and artistic and educated shading, into the flat.
Through the kindness of Dr. Jackson Howard, Maltravers Herald, and
Messrs. Mitchell and Hughes, I am able to shew the engraving (from
_Miscell. Genealogica et Heraldica_ for 1884, p. 99) of a very unusual
mantling from the Confirmation of Arms in 1526, by Thomas Hawley,
Clarenceux, to Francoys Galuerdet, a native of Rhodes, and Receiver
General in England for the Hospital of St. John of Jerusalem. This
mantling is unusually small; there is no helmet, and the torce is
beautifully worked [compare the brass to Sir Wm. Say, lithograph No.
71]. I put this forward first because of its early date, and it seems
that at this time mantlings in heraldic drawings, grants, &c., were
kept very small.
[Illustration]
It will be convenient to describe, and in a numbered list as follows,
the variations observed at successive dates.
1.--From 1550 to 1570 there is a tendency to keep the greater portion
of mantlings above the shield. They are of smaller volume, and one
fold is allowed to wander down on each side, ending in a tassel about
one-third down the depth of the shield. A very characteristic example
is engraved in _Miscell. Genealogica et Heraldica_ for June, 1887,
being the grant to Thomas ffletewood, of London, 1st June, 1545. In the
grant to John Lambard, 15th January, 1551 (engraved in _Archæologia
Cantiana_, vol. v, p. 247), such a mantling has four tassels, two above
carried up somewhat high, and two below standing about one-third down
the shield. The mantling to the arms of Goodricke, engraved in Gerard
Legh's _Accedens of Armory_, edition 1562, is of the same character,
but without tassels.
2.--A little later the number of folds is observed to increase, and
the tassels are carried down further and turn inwards towards the base
point of the shield.
3.--In a grant dated 1572, which is printed in _Miscell. Genealogica et
Heraldica_, vol. i, p. 321, occurs the first instance I have noticed of
the foldings coming from behind the shield, and the same may be seen in
a grant of 1575, printed in Sylvanus Morgan's _Sphere of Gentry_, lib.
ii, p. 74.
4.--From about 1590 to 1630 a return to the simpler style is
observable; a single fold wandering away from the body and reaching
with tassels to the base of the shield. Occasional instances return
wholly to the descriptions given under 1 and 2.
5.--After about 1620 the volume of mantling gradually increased, and
seemed to be purposely so arranged as to come out from behind, probably
because it was found in drawings to give artistic relief to the shield.
6.--By about the year 1670 mantlings are frequently found of excessive
volume, and in a mass, which would be solid were it not skilfully
broken by lighter hackings appearing in the central portions; the
folds come down in heavy masses, sometimes like great sausages or
cucumbers, to the bottom of the shield. Examples of such may be seen in
Sandford's _Genealogical History_, 1677, and in book-plates engraved
in _Miscell. Genealogica et Heraldica_, December, 1886, p. 184, and
elsewhere. The skill of the artist affects wonderfully the quality of
these designs; it is not only the chiaro-oscuro, but the turning of a
line may often sparkle with genius. Sometimes they are extremely flat
and heavy, for instance, in the map attached to Thoroton's _Notts_,
1677, may be seen a specimen, which is a great contrast to Hollar's
designs in Sandford's _Genealogical History_, published in the same
year. Again, the frontispiece to Carter's _Honor Redivivus_, published
in 1673, shows flat waves, and behind the shield, coming out two-thirds
down its length, the edges rippling into leaves and hackings, while
the folds extend down to a boldly hacked and curled cartouche for the
motto, out of which spring two branches of olive.
Instances of this style continue to occur down to 1750. We find
them so engraved in Guillim's _Display_, 1724, also in the _English
Baronetage_, 1741, and in some of the engravings in Atkyn's
_Gloucestershire_, 1768.
7.--About the year 1700 appeared for a few years, perhaps we may say
till about 1720, book-plates and dedicatory arms with great hacked
foldings twisted round and looking something like Catherine-wheel
fireworks. Two or four of these occur in book-plates, and sometimes as
many as six, three on each side. We notice that these are conventional
exaggerations of the less pronounced circular foldings and turnings
seen so early as 1677 in some of Hollar's engravings in Sandford's
_Genealogical History_. An engraving at p. 185 in Chauncey's _History
of Hertford_, published in 1700, is especially interesting; it shows
a monument, dated 1662, to Hewytt, in Sawbridgeworth Church, where
the carver has struggled to avoid the long ugly folds ("cucumbers"),
and has introduced very vigorously twisted leaves and hacks which
almost approach those conventional Catherine-wheel fireworks as found
in book-plates of a later date, say from 1700 to 1720. I would point
out that all the armorial engravings in Chauncey's _Herts_ are well
worth studying: the mantlings are hacked all over, and extend about
four-fifths down the shields in endless small and vigorous twists, the
shields themselves being variations of No. 16. Some of the engravings
in Plot's _Natural History of Oxfordshire_, published in 1705,
show the same character, also some of those in Atkyn's _History of
Gloucestershire_, published in 1768.
8.--The rebound from this taste led to small mantlings, kept a good
deal at the top of the shield, even although there were no supporters,
as in a peer's coat of arms, to prevent their downward flow. These
occur also when the bases of the shields in Jacobean book-plates are
finished off with scroll work, trellis, scales, &c., &c.; the upper
part of the shield being ornamented with such smallish mantlings. In
Blomefield's _Norfolk_, 1739, ribbon scrolls extend all round some of
the shields in the place of a mantling; while in what is, I suppose,
a book-plate, Holland impaling Upton, printed in the pedigrees at the
beginning of vol. i, acanthus leaves occur in the base, and break out
occasionally, where convenient, from such scrolls, which are arranged
round the upper part of the shield. Scrolls are strictly architectural
ornaments, and not _vegetables_. These correspond to the French style
called "Bombé," in which curves and undulations of surface in ribbons,
&c., were rolled and tossed about for artistic effect. But with our
English examples of monuments of the sixteenth century in the same
taste (see p. 80), we need not consider that our Jacobean style was
borrowed from the French, although that nation, for a full century,
ending in 1790, guided the artistic tastes of Europe.
9.--During the Chippendale fashion all martial elements disappear,
helmets and mantlings are swept away, and we see the style of Louis
XV. borrowed from the prevailing French taste, broken shell-shaped
woodwork, rocks, and shell curves (rocaille coquille), hence called
"Rococo." It was well enough in the frames of mirrors and furniture,
but seems strangely out of place around a cardioid shield of arms,
with festoons of flowers and spikes of reeds or grass, while perhaps
Cupids or Greek vases on brackets are introduced. Nevertheless, the
genius of Chippendale sublimated this into specimens of great beauty.
Chippendale's _Books of Designs_ were published in 1759, i vol., folio,
and in 1762, i vol., folio.
10.--Mantlings, of course, continued to be shown in grants of arms.
We find about 1775 they appear to be smaller again, and confined to
the top of the shield, often being carried rather high up on each side
of the crest, and frequently ending at the base in two tassels [see a
grant 1779, _Miscell. Genealogica et Heraldica_, second series, vol.
iii, p. 41].
11.--This style continued to the beginning of the nineteenth century,
when I have observed very light and graceful mantlings thrown about in
airy and much hacked foldings, and generally ending in tassels (see a
grant 1803, _Miscell. Genealogica et Heraldica_, original series, vol.
ii, p. 20). This character is also seen in many book-plates of this
date.
12.--I must now say a few words on the style introduced and skilfully
enforced by Robert and James Adam. They, too, adopted from the French,
and by their skill and artistic taste developed to great perfection
the style of Louis XVI. (1774-90). The rage for this fashion arose
in Europe upon the discovery at Pompeii of Roman frescoes preserved
in their original colours. The brothers Adam caught the exact spirit
of these, and produced heraldic designs, consisting of shell-fluted
scrolls, with light and airy festoons of flowers and ribbons,
surrounding shields almost invariably Georgian No. 25. The festoons
were frequently extended in graceful curves, from pegs, just as we
see them in the recovered Roman arabesques, or on the walls of the
Petit Trianon. Robert and James Adam published their book in three
vols., imp. folio, 1773-1822. For examples of this style see Dugdale's
_Warwickshire_, 1765; Hutchin's _Dorset_, 1774; Hasted's _Kent_,
1778; Rudder's _Gloucestershire_, 1779 (one specimen only); Nichol's
_Leicestershire_, 1795; Shaw's _Staffordshire_, 1798; Manning and
Bray's _Surrey_, 1804. This long list will show how extremely popular
the Adam style continued to be for about thirty years.
13.--As early as 1500, a fan-shaped mantling with rounded base appears;
it was formed of an unhacked cloth with many closely folded rays,
and occasionally two tassels are attached to the _upper_ corners and
hang down as supports on each side of the shield, which stands in the
middle--see examples engraved in _Herald and Genealogist_, vol. viii,
p. 247; _Archæologia Cantiana_, vol. v, p. 248; _Miscell. Genealogica
et Heraldica_, first series, vol. ii, p. 100; &c., &c. This design
is continued until after 1700, but seems less closely folded at the
later dates, when they are often found in ornamental achievements in
pedigrees.
14.--A curious example of a mantling is engraved _Herald and
Genealogist_, vol. viii, p. 254, in which a square sheet or cloth,
having no hacking, and attached to the helmet, is folded-in round the
edges; through these a cord is passed, ending in two tassels which
extend a little below the bottom of the mantle. This portion of the
cloth, as well as the back, hangs down straight without any folds. The
result is that the shield stands out against the deeply shaded back
ground within these folded-in edges, they being in high light. The MS.
from which this is taken is dated 1645, and the shield displays the
arms of Helsby.
15.--The earliest instance I have noticed of those large unhacked
square sheets or mantles called by Porney "drapery," which are drawn up
through two rings or ribbons at the upper corners and fall in folds,
while in the middle stands the shield of arms, occurs in a monument
at Holme Pierpoint to the Countess of Kingston, which bears date 1649
(Thoroton's _Notts_, p. 90). Such are also engraved in the _Sphere
of Gentry_, 1661; and in the _English Baronetage_, 1741. These are
occasionally to be met with down to 1840. In French heraldry they are
commonly found.
* * * * *
In _Archæologia Cantiana_, vol. x, p. 329, is engraved a curious
tent-shaped "drapery," drawn over the helm and held there by a ducal
coronet, from which starts the crest, while beneath, and in the middle
of the sheet, stand the shield of arms and supporters. This is from
"The Confirmation of Supporters, Crest and Arms to Sir Edward Dering,
Knt. and Bart., by Sir Wm. Segar, Garter." The first baronet was
created 1st Feb., 1626, and Sir Wm. Segar died in 1633; so the date of
this drawing is within those seven years.
* * * * *
It must be evident that each artist gave a certain character and style
of his own to his work; at the same time the various fashions noted
above are found strongly prevailing at the dates given. They were what
was approved by the public taste, and any variations only extend to
more or less skilful working out. It will be noticed that public taste
has several times alternated between sparse and voluminous mantlings.
There are indications at the present time which seem to point to a
return, within a few years, of the massive convolutions seen during the
last quarter of the seventeenth century.
* * * * *
In ledger stones and monuments from 1650 the characteristics
given above are followed until about 1780, when other kinds of
decoration--palm branches, festoons, and scrolls--very largely
superseded mantlings.